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There is a Chremes in four plays who stands for an old man in three, for a youth in one; while the names Sostrata, Sophrona, Bacchis, Antipho, Hegio, Phaedria, Davus, and Dromo, all occur in more than one piece. Thus we lose that close association of a name with a character, which is a most important aid towards lively and definite recollection.
It is entitled Gripus and Hegio, or the Passionate Lovers, and relates the loves of these characters for Mira and Daris; while we also find the familiar roguish boy, less amusing and of stricter propriety than usual; a chorus of fairies who discourse classical myth; Venus, Cupid, Hymen, and Echo; and the habitual concomitants of pastoral commonplace.
Diderot alone followed his bier. Fontenelle, nearly a hundred years old, was soon to follow him to the tomb. "Ascanius is a statuary, Hegio a metal-founder, AEschines a fuller, and Cydias a brilliant wit. That is his trade; he has a sign, a workshop, articles made to order, and apprentices who work under him. Prose, verse, what d'ye lack? He is equally successful in both.
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